A trip to the ancient forests of Yakushima Island inspired Yuima Nakazato to try to replicate its landscape of ancient cedars and river-worn stones. In what became a meditative act, he spent 1,500 hours over the six months it took to create his collection working with ceramic, which was the heart of the lineup, perfecting hundreds of giant beads. On one gown, they seemed to replicate the leaves on a tree. Elsewhere, they were more like time-worn rocks or fungus.

Instead of music, the tinkling of clay provided the soundtrack, creating what Nakazato described as the sound of the earth itself. The designer, seated on the floor of the chancel of the American Cathedral, provided the beat as he banged further ceramic creations together.

The earthenware pieces, glazed in white with gold or silver details, were sewn together onto white knit webbing, at times combined with metallic chains. Such graphic dresses and tops interplayed with diaphanous fabrics in shades of white and graduations of black and brown, with strips held together with string and layered, suggesting the age rings of trees — a nod to Nakazato’s first garment design when he was in high school. Further dresses featured a metallic coating on fabric that was crinkled, draped and sculpted, evoking bark.

Nakazato’s creations were poetic and innovative in equal measure, and he continued to push technical boundaries. Thanks to the application of a transparent ink from technology partner Epson, he discovered he could cut his fabrics without them fraying, meaning he could create sharper lines when he played with silk. Silver and gold ankle boots, meanwhile, were made using a new technique created in partnership with Epson to recycle fabrics and combine them with traditional urushi lacquer, giving them the look of metallic leather.